Wednesday, April 11, 2012

Herbielicious

Herbie Hancock is both the most
lovable and the most inscrutable of Miles Davis’ still-active pianist-protégés.
He’s less commercially cloying than Chick Corea, who hasn’t found a lucrative
tribute band or reunion tour he didn’t like. He’s not an excruciating
perfectionist like Keith Jarrett, who still yells at audience members for
coughing. Hancock is quick to strike up a good rapport with the audience
without making it seem that he likes to hear himself talk. You actually seem to
know the guy. He’s not some guarded, frizzy-haired genius, or someone who
hasn’t done anything new in fifteen years.

But once Hancock sits down to
play, all bets are off. You really have no idea which Herbie you’re going to
hear until he touches that first key. Hancock has traversed wide swaths of
aesthetic ground throughout his five-decade career – from abstract,
harmonically-complex acoustic jazz in the ‘60s, to electrified fusions of the
‘70s, to proto-Hip Hop, to recent pop crossovers, with dabblings in classical
along the way – and everyone has a favorite period. During his solo performance
at McCarter Theater a few Mondays ago, Hancock seemed hell-bent on both
pleasing and pissing off everyone at some point, conforming to no one’s
narrative but his own.

Since Hancock has been recently
touring with a full quartet, this solo performance promised to showcase Hancock
at his most elemental, stripped of rehearsed tendencies. This promise was met
from the start when Hancock opened with an abstract exploration of harmony and
color on his grand piano. He hit dense, rolling chords, using copious sustain
pedal, letting the audience live in each sonority. There was an intense purity
to this introduction, no stylistic hallmarks, just searching. Gradually, a
recognizable melody slipped into the painting – that of “Footprints,” a tune by
Hancock’s Miles Davis band mate Wayne Shorter. But even with this introduction
of a sonic anchor, the explorations continued, unhampered. The piece became a
more classical theme and variations, rather than a traditional jazz theme and
jam. The melody was ever present, the harmonies, rhythms, and forms floating
around it. Every so often, Hancock would hold a chord for extended moment and
bring his left hand up to his chin, actively pondering where to go next. It was
as if you were waiting on a musical precipice with him, not knowing what would
happen once he made the jump.

After a similar exploration on
his own classic tune “Dolphin Dance,” Hancock plugged himself in. Apparently
missing his band, Hancock used an array of computers and synthesizers to
conjure a virtual orchestra that played a moody, new-agey arrangement of
Hancock’s composition “Sonrisa.” As the orchestra cycled through programmed
riffs, Hancock added solo filigree on the piano. The piece developed into a
concerto for improvising piano and orchestra, more interesting in concept than
in execution.

What followed was for some a
devolution, for others the highlight of the evening. Without waiting even a
beat for the applause to fade, Hancock booted up a funky drum groove from his
beat box, followed quickly by the instantly recognizable bass line of “Canteloupe
Island,” a funk chestnut, since appropriated by many a television commercial. Backed
by his band-in-a-box, Hancock slid from piano to synthesizer, letting his
different personas take a unique solo. Then he picked up the much-maligned
keytar, an instrument that most people believe died a timely death in 1989. As
I tried to hold back laughter and listen beyond the oh-so-cheesy patch Hancock
was using, I noticed that he takes this instrument very seriously. While his
right hand flew around the keyboard’s upper range, his left hand stayed put on
the neck, pushing buttons to bend and stretch the notes – lingua franca for
horn players and guitarists, but impossible with the distinctly quantized notes
of a piano. It was as if Hancock was challenging the audience members to drop
their preconceptions of the instrument and its sounds and hear the inherent
substance of each note. For a brief moment, we all got a glimpse into the
reason for one of Hancock’s most maddening tendencies – to hide his immaculate
touch behind a wall of electronics.

While Herbie Hancock may draw
the ire of many a jazz traditionalist with this penchant for unnatural sounds
(I’ll even admit that his patch of assorted grunts, “oh yeahs,” and “come ons”
was a bit much), he’s no pop-savvy sellout. No matter the style, Hancock’s
music is always about finding something new – a new sound, a new harmony, a new
way of playing an old song. Just because a particular sound seems silly upon
first hearing it doesn’t mean it’s not worth serious exploration. Hancock seems
just find with remaining an enigma to listeners everywhere. He’ll just keep
asserting his musical freedom, challenging us to throw off our own shackles of
listening prejudices. As Hancock takes on his new role as UN Goodwill
Ambassador, I can’t think of a more appropriate advocate for free musical
expression, no matter the sound or style.

1 comment:

I saw Herbie play with the Seattle Symphony last fall and was quite unimpressed. After the SS played the most uninspired Firebird I've ever heard (I blame Eric Garcia, rather than the Symphony, who I've found have some solid chops), Herbie came out and proceeded to (what I can best explain as) 'doodle' for 20 minutes over Footprints. The orchestra joined for a cinematically-overwritten arrangement of Sonrisa. They finished with Rhapsody in Blue, and that was solid. Except for that, though, a bit of a let-down.